The 3Cs en Colombia: Conquistadores, Café, Cocaína

Colombian-born Fernando Botero (b. 1932) is a painter, sculptor, and draftsman renowned for his extravagantly rounded figures combining the polish and excess of Spanish colonial baroque with the social realism of the Mexican muralists. Their humorous exaggeration belies the more serious content of Botero’s work—commentary on colonialism, political instability in Latin America, and the vernacular artistic traditions of the region, as well as European art history.  Accompanying the artist’s first American retrospective in over thirty years, The Baroque World of Fernando Botero is the most extensive study of his life and work to date. Drawn exclusively from Botero’s private collection, the 100 works featured in this book, including previously unpublished paintings and drawings, represent the full scope of his oeuvre from a uniquely personal perspective. Many of these—portraits of friends and family members and remembered scenes—have remained in the artist’s possession since their creation, while others he has bought back over the years as markers of significant developments in his career. Three essays examine the artist’s creative life, from the aesthetic environment in which Botero developed his unique style to his catalyzing influence on the Colombian art world of the 1960s and 70s.

In Decolonial Ecologies: The Reinvention of Natural History in Latin American Art, Joanna Page illuminates the ways in which contemporary artists in Latin America are reinventing historical methods of collecting, organizing, and displaying nature in order to develop new aesthetic and political perspectives on the past and the present. Page brings together an entirely new corpus of artistic projects from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and Peru that engage critically and creatively with forms as diverse as the medieval bestiary, baroque cabinets of curiosities, atlases created by European travellers to the New World, the floras and herbaria composed by eighteenth- and nineteenth-century naturalists, and the dioramas designed for natural history museums. She explores how artists develop decolonial and post-anthropocentric perspectives on the collections and expeditions that were central to the evolution of European natural history. Their works forge a critique of the rationalizing approach to nature taken by modern Western science, reconnecting it with forms of popular, indigenous and spiritual knowledge and experience that it has systematically excluded since the Enlightenment. Drawing on photography, video, illustration, sculpture, and installation, this vividly illustrated and lucidly written book explores how these artworks might also deconstruct the apocalyptic visions of environmental change that often dominate Western thought, developing a renewed understanding of alternative ways in which humans might co-inhabit the natural world. It is valuable reading for scholars, students and anyone interested in Latin American art, transdisciplinary studies in art and science, or the environmental humanities.

Thorough analytical research that examines the organization and the pedagogical and teaching processes of each of the schools analyzed. This first volume reflects on the impact of schools dedicated to teaching arts and crafts in the second half of the 19th century and the first half of the 20th century.